Lines of research

The area of ​​concentration - Literary Theory - encompassses four lines of research:

I - Politics of Subjectivity: encompasses studies related to the subjectivities of postmodernity, present in the literature and other cultural expressions.
II- Poetics of Contemporary Literary Productions: encompasses studies related to literary aesthetics and intertextuality.
III - Literature and Intermediality: encompasses studies of literature and other arts and media, such as cinema, theater, painting and music.
IV - Creative Writing: critically addresses the process of textual creation, comprising the most diverse literary genres (narrative, lyrical, dramatic).



This line of research focuses on studies of culture, theory, history and literary criticism with a view to investigating the processes of construction of subjectivity in literary, historical, political and cultural contexts. Investigation of the processes by which the literary text articulates the power relations that give rise to the formation of the romantic subject, in its political, as well as ontological, ethical and epistemological aspects. Studies whose focus results in the production of knowledge capable of broadening the understanding around the policies that were or are being employed in the process of constructing subjectivities, both through individuality and collectivity. Discussion of the forms and practices of constructing minority subjectivity in the texts of authors representing the minority studied.

We understand here romantic subjectivity as a set of identity values ​​representative of the relationship of forces in the artistic, historical and cultural field of the period. The studies proposed in this line aim to use a methodology of romantic thinking as an intermediate annotation, which is seen at the center of an individualized EU numerical discourse production, romanticism, paradoxically, the multiplication of looking at numbers.

On the other hand, the investigations of the human gain a more complex dimension from the moment when it is possible to question the classic diction of man; The experience arises as the subject's wandering centered on individualized discourse, the height of anguish and opaque destiny. It becomes possible to think by the logic of difference. Difference in creed, race, form and place. In this way, the series become complex and operate in an environment in which the strength of the social and political fields is radically relativized. On the other hand, but at the same time, studying the identity processes after romanticism also means following the lines of totalitarianism that seek to “stop” the voices of difference in the social, political and cultural environment. It is therefore a question of investigating and questioning the human diction that gains voice and place through individualities that clash or chaotically harmonize in a new logic of disputes and agreements in the social, political and cultural fields; It is also a question of verifying how the logic of establishing national values ​​operates from identity constructions that are based on principles determined by hegemonic social forces. Similarly, it is appropriate here to investigate the notion of race or ethnicity within and outside national discourses; or more, the issue of gender, present in the reflection on authorship and sexual identities of cultural discourse in social and political environments.

In this sense, the word "political" is used here beyond its traditional meaning, implying not only the relations arising from state power, but any form in which power manifests itself. In this sense, power is a social practice, something that is exercised. Power and politics thus conceived give rise to a twofold paradox. First, it presupposes the existence of subjects, someone who submits to someone else's domain and someone who submits. However, the very idea of ​​subjectivity already presupposes power relations, since the subject recognizes himself only in the phenomenological apprehension of the existence of an Other. In other words, politics presupposes subjectivity and, at the same time, subjectivity occurs only as a result of the exercise of politics. Secondly, the way in which the literary text articulates the power relations that give rise to the formation of the subject presupposes a reference to an extratextual instance, the context, whether that of the author, the reader, the characters or more than one of these. concomitantly. The research line Subjectivity Policies is therefore defined as an inquiry into how literary discourse finds a poetic and not necessarily speculative solution to the paradoxes mentioned above.

Classses that belong to the line of research Poetics of Contemporary Literary Productions:
Nuclear or propaedeutic disciplines (4001, 4002, 4003, 4004, 4005)
Code 4006 - Cultural Criticism
Code 4007 - Passages of Modernity
Code 4008 - African American Poetics and Politics
Code 4010 - Languages ​​of Otherness
Code 4020 - Reading Topics I
Code 4021 - Reading Topics II


Studies that seek to highlight the tensions between the more pragmatic and traditional postures of literary studies and the more generic and inclusive perspective that has marked the contemporary theoretical performance, especially when considering the diversity of recyclings, combinations and recombinations within the textual genres. and multiple theoretical approaches. Study of literary poetics in their contemporary expressions, with emphasis on the passage from modernity to postmodernity and the deconstruction of discourses of totalizing character.

The terms "modern" and "postmodern" are problematic and controversial. The meaning of the concepts of modernity and modernism depends on the context in which they originated and were used. Modernity implies an opposition to something, and particularly to a historical epoch that has passed and been overcome. In the arts and literature, the word “modernism” is used to refer to the development of more self-reflective art forms that emerged in the late nineteenth century. Moreover, the uses of the word "postmodernism" show such a diversity of meanings that it itself disputes the simple definition. The postmodern novel, for example, could be described as incorporating an experimentalism into the narrative form, whereby a rejuvenation of the conventions established in the form itself is sought.

In other words, postmodernism is an avant-garde aesthetic discourse that seeks to overcome the limitations of traditional conventions by seeking new strategies for describing and interpreting experience. According to Lyotard, postmodernism should not be understood as a historical progression that signals a present departure from past modernism. Modernism is actually characterized as a response to a set of concerns that are already postmodern in themselves, as it embodies a strong nostalgic desire for the lost sense of unity and then builds an aesthetic of fragmentation. Postmodernism, by contrast, begins with a lack of unity but, instead of lamenting it, celebrates it. These discussions are taken up by other critics associated with postmodernism, such as Jean Baudrillard, Fredric Jameson, Jacques Derrida, Michel Foucault, Luce Irigaray, among others.

Given the above, we chose to use the term "contemporary" to account for the multiplicity of languages, plurality of theoretical approaches and critical trends of the current era, since the literary text and its artistic recyclations are presented today in a multiple form. , unstable and complex, in an infinite variety of manifestations still little researched. The objective is to characterize the processes of constructiveness, aiming to problematize the complex relations of form and content at all levels, in terms of the current aesthetic conceptions and metalangu

Contemporary is characterized by the multiplicity of literary languages, plurality of theoretical approaches and critical trends. Artistic recycling, that is, the appropriation and / or adaptation of texts, cultural elements, forms and inherited literary conventions, which was also present before, is a striking trend. The contamination of genres, the permeation of literary techniques and resources, parodic and combinatorial procedures, and intertextual dialogism have become commonplace today. We consider it relevant, therefore, to investigate the literary manifestations that were necessary to express the reality in process and the relativity of values ​​of our days, whose mapping will serve to broaden the discussion around the relation form / content and will constitute a vehicle. fruitful to rethink today's human relations with the contemporary world.

Subjects that belong to the line of research Poetics of Contemporary Literary Productions:
Nuclear or propaedeutic disciplines (4001, 4002, 4003, 4004, 4005)
Code 4011 - Poetics of Modernity
Code 4012 - Poetics of Recycling
Code 4013 - Poetics of the Contemporary Scene
Code 4020 - Reading Topics I
Code 4021 - Reading Topics II
Code 4022 - Reading Topics III


This research line “Literature and Intermidiality” aims to discuss the concepts of intermidiality from a perspective that goes beyond simple comparativism, focusing in particular on the study of interrelations, contagions, imbrications and friction between literature and other forms of communication. art / media, which increasingly converge, generating increasingly complex discursive processes. Moving between the materiality of the literary text and the semiology of text, image and sound, this line aims at the study of the processes of meaning production, using concepts such as media transposition and intermidiality, translation or intersemiotic transposition, adaptation. media, among others. Among its objectives, we highlight the critical analysis of works (contemporary or not), consisting of texts in different media, including productions based on the combination of various media (theatrical performances, operas, films, comics, installations and songs), as well as Intermediate transpositions (cinematographic adaptations, romanticizations, etc.) and Intermediate references: musicalization of literature, transposition d'art, ecphrases - verbal representations of texts composed in nonverbal signs -, references to paintings in films and photographs, among others.

With a transdisciplinary approach, this line of research aims to study the relationships between literature and other arts and media from the point of view of Intermediate theories. As is well known, Intermediate Studies constitute a response to the tendency towards extreme specialization, which has prevented a more open understanding of the deep interactions between the various forms of media and arts in contemporary times. During the last decades, studies on Intermidiality and Multimodality have been established in several higher education institutions in Europe and North America. However, this approach is not entirely new, since Intermediate Studies have historically been preceded by areas such as Aesthetics, Philosophy, Semiotics, Comparative Literature, Media and Communication Studies, as well as Interart Studies. In fact, this area was initially called "Comparative Arts," a term understandable only to those who associated it with the concept of Comparative Literature. Then it was renamed “Interarts Studies”, which corresponds to “Interart Studies”, in Portuguese; However, in German-speaking countries, the area has always been called Intermediate Studies.

Intermediate Studies broadens the scope of their research by incorporating the term "media" (not just "arts"): as the concept of "art" is associated with certain cultural values ​​and conventions, the term "media" with its The emphasis on the materiality of media products has often been more appropriate for cultural production since the early twentieth century - without, however, eliminating a discourse on 'art' in certain contexts. In short, we can define Intermidiality basically as the study of cooperation and collaboration between the media and art forms, that is, the phenomena that occur between the media. Thus, this type of research deals with cultural products marked by the absence of boundaries between one art / media and another, aware that there are no “pure” artistic / media forms, since all types of media and art are related in many ways.

This line of research aims to function as a network in which the researchers involved can hold a broad debate about the relevance of the concept of intermidiality as a text-reading operator (in the broad sense of this term), in addition to promoting product research. cultural / artistic areas characterized by the intersection of arts and media.

Subjects related to the line of research Literature and Intermediality
Nuclear or propaedeutic disciplines (4001, 4002, 4003, 4004, 4005)
Code 4014 - Image and Literature
Code 4015 - Studies of Intermediality
Code 4016 - Literature and Digital Technology
Code 4020 - Reading Topics I
Code 4022 - Reading Topics III


This line of research was implemented considering the vocation of the program to address the practice of writing and its creative processes. This vocation emerged from the presence, among the PhD faculty, of quite representative writing teachers in the regional and national literary milieu. They are: Edson Ribeiro da Silva, Marcelo Alcaraz, Otto Leopold Winck, Paulo Sandrini and Sigrid Renaux. This line considers that literary studies, properly understood, are not limited to the study of the text as an autonomous textual entity, nor to the analysis of the conditions of its production - that is, to the context, what is in the “surroundings” of the text - or to history of their multiple and successive receptions.

Recently a field of theoretical and practical studies has been developed in which the literary text is analyzed as a process of creation in its ambivalent interaction with the arts and the wider human processes. In this sense, we intend to take a look behind the scenes, as it were, of the creative process, freeing it as far as possible from the romantic conceptions that still surround it. From Edgar Alan Poe, the authors show that the creative process depends not only on what is called inspiration, but also on a conscious work of organizing ideas and words, based on techniques and theories and considering the most diverse instances of the literary system.

The creative process itself is currently a theme approached from various conceptions, from genetic criticism to semiotics. Such a process can itself constitute a position of the writer and artist, contributing to the discussion of the ideological aspect of literature. The author's relationship with the text, the concept of authorship and its relations with the textual plots, the different creative processes and their basic theories, the articulation between conscious creation and inspiration are some of the objects of this research line. In the same way, the dialectic between invention and tradition is analyzed, and how this happens within a given literary system, with its most varied links and dialogues with the extraliterary field. Entering the complex universe of literary genres, the elements of narrative and its architectural articulations, poetry and its “hesitation” between sound and meaning are also the target of the studies developed here. But as this line of research overflows from theory to practice, creative writing exercises will be central to this process, with the production and analysis of various narrative, poetic and dramatic texts, among others.

One must also consider the most recent phenomena of collaborative and synchronous writing, typical of digital platforms, and their insertion in the literature system, the implications in the literary creative process, the problematization of the relationship between author and reader and, why not? , the effects of this practice on the circulation and reception of the literary work. Finally, as the creative process is at the center of the discursive field called “literature”, it is in the present line of research that it will receive in our program all analytical and practical attention.

Subjects related to the line of research Poetics of Contemporary Literary Productions:
Nuclear or propaedeutic disciplines (4001, 4002, 4003, 4004, 4005)
Code 4017 - Writings of Self - Autoficcion
Code 4018 - Creative Writing I
Code 4019 - Creative Writing II
Code 4020 - Reading Topics I
Code 4021 - Reading Topics II